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"The Passionate Struggle into Conscious Being": the Pollyanalytic Content of D. H. Lawrence's NovelsCox, James T. 12 1900 (has links)
D. H. Lawrence left one of the most diverse collections of literary works ever contributed to the literature of the English language; the Lawrence canon contains a body of material which includes novels, short fiction, poetry, drama, literary criticism, travel essays, and philosophical writings. Since Lawrence is generally considered a novelist, the problem arises concerning the relationship between his novels and his other writings. In this case the concentration will be upon Lawrence's philosophical writings or what Lawrence called his pseudo-philosophy--his "pollyanalytics."
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Imagery as related to theme in D.H. Lawrence's poetryFu, Shaw-Shien, January 1967 (has links)
Thesis (Ph. D.)--University of Wisconsin, 1967. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Ursula Brangwen the lady of the dance /Buenaflor, Judith L. January 1998 (has links)
Thesis (M.A.)--Kutztown University of Pennsylvania, 1998. / Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 80-84).
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The Monomythic Pattern in Three Novels by D. H. LawrenceHoffmann, Dorothy A. 08 1900 (has links)
Sons and Lovers, The Rainbow, and Women in Love present sequentially in fictional version Lawrence's own personal journey into self-discovery in the form of a creation myth of sensual love which repeats the archetypal patterns of some of the great mythologies. It is the purpose of the following pages to show how these three novels reveal the major archetypal patterns of mythology as suggested by Joseph Campbell in his study, The Hero with A Thousand Faces.
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Die Funktion der Register in den drei Versionen von Lady Chatterley's lover von D.H. LawrencePritscher, Ursula F., January 1982 (has links)
Thesis (doctoral)--Universität zu Köln, 1982. / Added thesis t.p. Includes bibliographical references (p. [i]-xxvi).
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The Making of Beauty: Aesthetic Spaces in the Fiction of D. H. Lawrence, Muriel Spark, and Virginia WoolfLee, Joori 16 December 2013 (has links)
This dissertation rethinks textual images of the other’s beauty, depicted in works by D. H. Lawrence, Muriel Spark, and Virginia Woolf, whose fascination with the other, called by
this dissertation the beloved, urged them to inscribe the beloved’s original beauty in texts. Their
works make perceptible the singularity of the beloved, while revealing the writers’ predicament in
translating the beloved’s ineffability in texts. Taking the untranslatability of the beloved into
consideration, this dissertation traces the ways in which these writers’ texts capture the
beloved’s original beauty at moments of revelation, related to epiphanies entering the terrain of
literary modernism. My study thereby scrutinizes the dynamics of images of beauty and their impacts on art and politics in the context of modernism. In doing so, I argue that the texts I consider express the beloved’s singularity in challenge of the beautified images that many other artists invented for self-directed purposes in the early and mid-twentieth century.
First, I explore Lawrence’s creation of aesthetic spaces in Lady Chatterley’s Lover (1928) in
keeping with his desire for making palpable visual spectacles through the text. Analyzing how this
ambition helped to create the novel’s aesthetic scenes, I would like to define Lawrence as an aesthete whose aspiration lay in expressing the beauty of things. Then, I discuss Spark’s affection for her characters and her desire to visualize the figure’s originality in The Prime of Miss Jean Brodie (1961) and The Girls of Slender Means (1963). Considering Spark in relation to both modernists and Fascists, I propose that her making of the image of her character breaks away from Fascism’s aestheticization of human figures. Finally, I investigate Woolf’s love for words by focusing on “The Duchess and the Jeweller” (1938), a short story written for expressing various modes of beauty in words. Drawing to the represented link between words and smell, considered the most “wasteful” sense, I examine how the sensory medium makes perceptible intrinsic qualities of words, and argues that her depiction of words, linked to smell, reveals the anti-utilitarian nature
of words, unconstrained by a craftsman’s manipulation of words.
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La symbolique de D.H. Lawrence ...Negriolli, Claude. January 1970 (has links)
Originally presented as the author's thesis, Rennes, 1966. / Includes bibliographical references (p. [191]-200).
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The mutual flame the quest for self-hood in relation to form in the later novels of D.H. Lawrence.Bhalla, Brij Mohan, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Mutation in blossom: an antithetical reading of the poetry of Anne Sexton through the aesthetics of D. H. LawrenceEarles, Kristofer 05 1900 (has links)
Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02
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Strife, Balance, and Allegiance : The Schemata of Will in Five Novels of D. H. LawrenceFiddes, Teresa Monahan 08 1900 (has links)
D. H. Lawrence made the final break through the mask of Victorian prudery to gain a full conception of man and his role in the universe. His principal emphasis is on the restoration of man's conception of himself as animal, an animal capable of conceptualizing, but essentially animal all the same. In attempting to restore man to the mindless state of irrational animism, Lawrence did away with the conventional idea of man as the perfection of God's created universe. Lawrence did not conceive of man as being controller of the natural universe; he thought of man as being, like Mellors in Lady Chatterly's Lover, a warden who lives within natural order. He attacks vain intellectual sophistry of the scientific, industrial society and finds man to be a brute spirit caged by the conventions of his puny reason and his self-imposed social customs. Philosophically, he changes the emphasis from being to becoming.
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